Followers of Gluck
Following the time of Gluck in Paris there was a group of composers who were so much influenced by him that they are looked upon as his disciples. One of these was his own pupil, Antonio Salieri (1750–1825), who in turn taught Beethoven, Schubert and others.
One of the links between the 18th and 19th centuries was Etienne Nicholas Méhul (1763–1817), a Frenchman, who worked with Gluck. He dared to take his themes from life and wrote opéra comique with a serious aim. Even though he lived in the turbulence of the French Revolution, he wrote thirty operas, among which the greatest is Joseph. He was made inspector at the new Conservatory and also an Academician, and was one of the most loved composers of his day. He was often noble in musical expression and handled his chorus and orchestra with skill. He wrote little of anything but opera, but pointed the way for others, especially in the use of local color and national feeling.
The next follower of Gluck, Gasparo Spontini (1774–1851), born in Italy, of peasant stock, was one of the first to write historic opera, which was further developed by Meyerbeer and others. Technically, this is known as French Grand Opera, which was being developed at the same time as opéra comique. It appealed to hearts and imagination, for the people loved the great scenes and patriotism portrayed.
Spontini first went to Paris in 1803 and the people did not like his work. But he persisted, studied Gluck and Mozart as hard as he could, and produced Milton, which showed the public that his work had some beauty. After this he wrote La Vestale, a noble work which swept him into favor and he won a prize offered by Napoleon and judged by Méhul, Gossec (a composer), and Grétry.
Weber, however, while Spontini was absent came to Paris with Der Freischütz, and took his place in the hearts of the people. Cast down by losing his popularity, Spontini returned to Italy. His musical ability was not equal to his great plots, yet, as the first writer of historic opera he deserves a place in the growing up of musical drama.
Grétry made French opéra comique out of opéra bouffe. Among the well known writers of opéra comique in France were François Adrienne Boieldieu, Daniel François Esprit Auber, Louis Joseph Ferdinand Hérold, Jacques François Halévy.
Boieldieu (1775–1834) was born in Rouen and became, in 1800, professor of piano at the Paris Conservatory. He wrote piano pieces and operas, and is best known for his La Dame Blanche (“The White Lady”) which is still heard in Paris. His operas combine sweet melody, amusing rhythm with not a little dramatic style. He shows in his works a real understanding of how characters and action should be handled.
Auber (1782–1871) called “The Prince of Opéra Comique,” was born in Paris, and later he became the Director of the Conservatory and Imperial Chapel Master to Napoleon III. His best known operas are Fra Diavolo, The Black Domino, Masaniello, or La Muette de Portici (The Dumb Girl of Portici). He had great popularity during his day.
Hérold (1791–1833) was not as accomplished as either Auber or Boieldieu. He was the son of a piano teacher and studied at the Conservatory under Méhul. In 1812 he won the Prix de Rome (the prize given by the Conservatory for composition, which permitted the student to go to Rome to perfect himself in his art, and to increase his culture, at the expense of the Government.) His best operas are Zampa and Le Pré aux Clercs. He was particularly good in orchestration, and his works are still heard.